World-class review of ballet and dance.
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"Fjord Review serves as an indispensable resource for the world of dance. Contributors offer well written and researched comment on what everyone's talking about - and what we might have missed. Unexpected humor and honest candor can be found in every article, and the photography and art direction elevate dance to the place of reverence and relevance it deserves. Bravo, Fjord."
Peter Boal
Artistic Director, Pacific Northwest Ballet
The world premiere of Remi Wörtmeyer's "La Bohème" marked a seminal moment in the history of BalletMet. The two-act production was unlike any that the 48-year-old Columbus, Ohio-based company has ever staged and showed a marked ascent in its artistic merit.
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In rehearsal, Dionne Figgins is exacting. She has an eagle eye as she runs choreography in short sections, making sure each detail is accounted for.
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Where do you go when you’re at the theatre? Are you looking for escape or confrontation? Do you want to weep for the world or tap your toe? In their latest tour to London for A Festival of Korean Dance, Korea National Contemporary Dance Company straddles somewhere in the middle.
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Around the corner from the crowds, billboards, Bubba Gump Shrimp and the Hard Rock Cafe, one can now find a decidedly more refined respite in the midst of midtown Manhattan.
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San Francisco Ballet delivers one of the most intense home seasons in the dance world, a scheduling crucible that artistic director Tamara Rojo, in her four years of leadership, has...
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Cleveland Ballet's new “Cinderella,” choreographed by artistic director Timour Bourtasenkov, was the culmination of the company's steady growth in size, quality, and stature since its founding in 2014.
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At the memorial for Joan Acocella, held at the New York Public Library for the Performing Arts, in the fall of 2025, I was drawn to the only red chair in the auditorium.
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“Hamlet” for many brings about fear. Not for its ghosts or its bloody end, but rather nightmarish memories of English classes where Shakespeare’s longest play was the source of ire for students across the English-speaking world.
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23-year-old Napoleon Bonaparte was a bystander in the streets of Paris during the August 10th assault on the Tuileries Palace.
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The Thai classical dance form khon to most westerners brings about images of gilded and ornate centuries old dances, but there is a great deal of science to it.
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The Spring is Blooming festival, by Dance Reflections by Van Cleef & Arpels, now in its fifth year, has become a highlight of the spring dance circuit.
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If there’s anything Shu Kinouchi can’t do—dance-wise, that is—nobody’s told him yet. Indeed, this endlessly fascinating artist who was with Houston Ballet and Tulsa Ballet before joining L.A. Dance Project in 2020, again proved a compelling presence in the first of four solo performances seen at LADP’s black box space last weekend.
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It’s been 25 years since William Trevitt and Michael Nunn swapped the Royal Ballet for the contemporary scene, building an imaginative portfolio across the stage and screen in step with choreographers like Russell Maliphant, William Forsythe and Christopher Wheeldon.
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Dance on film is undoubtedly an integral element of the dance ecosystem, legendary works like Trisha Brown’s Watermotor or Anne Teresa de Keersmaeker’s Fase still capture the consciousness of contemporary dance fanatics and arty Instagram pages.
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Within the ranks of American Ballet Theatre, 76 dancers—who will be appearing onstage at the Metropolitan Opera House in just a few weeks—share a common background: they’ve matriculated from ABT...
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As the audience come to their feet at the end of this ballet there is a noted difference to be seen on stage. Three women stand with joined hands, taking their call as the romantic leads of a loud and proud lesbian ballet.
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Near the end of her illuminating book on choreographer Buddy Bradley, Maureen Footer discusses Bradley’s work on Cecil Landau’s revue “Sauce Tartare.”
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The Philadelphia Ballet just premiered its current choreographer-in-residence, Juliano Nunes’s “Romeo and Juliet.”
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One of San Francisco Ballet’s greatest assets is its home venue, the Beaux-Arts style War Memorial Opera House, with four rings of seating that require performers to project their energies practically to the exosphere.
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Misery, grief, sorrow. However you want to cut it or label it, the depths of emotion are too irresistible a thing for artists to not attempt to emulate or articulate.
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